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The Puppet – What a Miracle!

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The Puppet – What a Miracle! The Puppet – What a Miracle! Realised by The UNIMA Puppets in Education Commission Editors Edi Majaron Livija Kroflin English Language Editing Nina H. Kay-Antoljak Layout & Design Helena Korošec Borut Korošec Printed by Grafocentar Printed in 1000 copies © UNIMA, 2002 All Rights Reserved Members of The UNIMA Puppets in Education Commission Livija Kroflin, Croatia (President), Edmond Debouny, Belgium, Ida Hamre, Denmark, Edi Majaron, Slovenia In collaboration with Croatia Centre of UNIMA and UNIMA Slovenia Union Internationale de la Marionnette The Puppet - What a Miracle! Editors Edi Majaron, Livija Kroflin The UNIMA Puppets in Education Commission 2002 CONTENTS The Puppet – What a Miracle! Edi Majaron The Learning Process in the Theatre of Paradox Ida Hamre Non-verbal Communication and Puppets Helena Korošec Dialogical Drama With Puppets (DDP) as a Method of Fostering Children’s Verbal Creativity Milda Brėdikytė Puppets in the Child’s Development Edi Majaron Puppets as a Teaching Tool Edmond Debouny Puppets and Education in Argentina Oscar H. Caamaño Biographies of the Authors About the Puppets in Education Commission Livija Kroflin The Puppet – What a Miracle! The conviction concerning the necessity of the use of puppets in the educational process has recently been gaining more and more professional and public support. Nevertheless, the lack of expert literature, theoretical as well as practical, still persists. This book is an attempt to offer some contribution to both domains. More or less all authors want to underline the importance of theoretical approach developing practical experiences in quotidian use of the puppet in educational praxis. Each one in his/her own way. Dr. Ida Hamre from Denmark, one of the founders of UNIMA Commission Puppet inEducation, emphasizes the influence of the puppet theatre play in forming the child’s personality on three levels: aesthetical, emotional, ethical and developing creative thinking at the same time. An important article of the Lithuanian artist Dr. Milda Bredikyte was written on the use of the puppet in dialogical plays. The method she suggests coincides with contemporary trends in sociological research which, in order to guide the individual to his/her identity and self-confidence, recur to narration and dialogue as means of discovering his/her problems. But children are not always capable of expressing their feelings and sensations in words, and symbolic play with the puppet offers a good solution to the problem: it enables them to communicate with their environment indirectly, i.e. non-verbally. They can learn the skill by simply watching their teacher's frequent use of the puppet in dialogical plays. Dr.Bredikyte's work is scientifically founded and based on practical work. Its results are similar to the conclusions of many kindergarten and primary-school teachers all over the world, so it is well worth our attention. The English summary of this theoretically and empirically founded thesis on the necessity of the use of puppets in the pedagogical process was one of the important writings of its kind in the last period, continuing research by the deceased Nancy Renfro from USA in the eighties. The article by Helena Korošec, assistant lecturer of puppetry and drama at the Faculty of Education, University of Ljubljana is also based on theoretical concepts: communication with the puppet which enables the modern child, exposed to the aggressive impacts of media and of life itself, to find solutions for his/her problems on a symbolic level and as painlessly as possible. Edmond Debouny, initiator of the UNIMA Commission Puppet in Education, describes his own way how to improve the use of puppets in the everyday work on school curriculum. We hope that these articles will certainly attract a number of followers and will therefore be well worth professional attention. Undoubtedly there have been many more similar projects performed in schools, so this publication should be taken also as an invitation to individuals experienced with puppets at nursery or elementary school, to share their results with our Commission. I am glad and proud that the idea of research regarding the use of the puppet to achieve curricular goals improves in certification of my personal CREDO: Puppet - a Miracle. In a way this fact will help to round off the theme of this book and, maybe, make it at the same time a challenge and the starting point for building a systematic collection of writings on the subject. The viewpoint that children have a right to the puppet, and their teachers a right to the knowledge of how to use it, is becoming more and more fervently advocated by the UNIMA international association and its special committee dealing with these issues, so a better insight into their meaning and importance would certainly be very welcome. Edi Majaron THE LEARNING PROCESS IN THE THEATRE OF PARADOX Ida Hamre Summary The theory is, that the special “learning shock” of the theatre form - cognitive and emotional - passing through the very strong metaphor of an animationfigure, may provide a trancendence to new acknowledgement and divergent thinking. On this background a pedagogical researchproject runnig for three years is decribed.The learning potential of the animationprocess, its magic and its utopian aspects are analysed and discussed. The focus is on animation. The name animationtheatre underlines the processand the relations between players, figures, craftsmen, spectators. The name is oriented to the centre of this art - that means to its special ways of communication, and therefor it is able to highlight the fact that every artistic expression should be animated and animating. How can animation theatre provoke education, and how can it contribute to innovation of teatre and drama-education in general? Animation theatre is not a primitive version of actor’s theatre. To many people this theatre looks like a simple artform, but still it is multifacetted and able to open for a variety of visual dramatic art forms - and even to other art forms. It has its own identity and it is a raw medium. From a pedagogical point of view it is very demanding but also very giving. The teacher who deals with the theatre form therefor needs professional training. The international commission «Puppets in Education» is dealing with those problems and wants to draw attention to the importance of the theatre form in the educational context. The theory in this article is that the special “learning shock” of the theatre form - cognitive and emotional - passing through the very strong metaphor of a marionette, may provide a trancendence to new acknowledgement and divergent thinking - may be to dynamic forces. This is to be dicussed in the following. Man - Robot Grandville (1803-1848) is called grandfather to the idea of the picture-book. As a poet and a painter Grandville described «Un autre Monde». I don’t find his figures attractive. Often Grandville is bitingly sharp - in an early surrealistic way he describes men and marionettes, and often he turns them upside down - In my opinion he points out what this theatre is about: - to be or not to be a marionette - that is the question. The puppet/the animationfigure can shed light on the nature of man as a robot or as a dynamic being.Could the blooming interest in these artistic and artificial figures be due to the fact that we have come closer to the very controlled automatic person? - and to medical and genetic manipulation?Time is ripe for this theatre. Many elements play a role in a performance. Depending on time and place, people have worked with these elements and this world of signs, which belong to animation theatre. In Europe, the development principally seems to have unfolded in four, basic dimensions. And I here quote proffessor Henryk Jurkowski's characteristic from the explanation in his book "Aspects of Puppets": - the puppet in the service of neighbouring sign systems. (Rituals /ceremonies) - the puppet in the sign system of the live theatre. (Imitations) - the sign system of the puppet theatre. (Identity) - the atomisation of all elements of the puppet theatre and its semiotic consequences. (Deconstruction which marks the theatre form today). My own opinion is that the totality, which the figures, players and movements of animation theatre form, can never become true socialist realism - and schould not. Animation Why animation theatre? The name animation theatre underlines the process and the relations between players, figures, craftsmen, spectators… Animation is in one time oriented to the centre of this art - that means to its special ways of communication, to its magic and to the hand. That means the tactile sense. And it is extrovert - highlights the fact that every artistic expression should be animated and animating. I want to focus on animation. The animation theatre appeals to the visual and the auditory senses - and to the tactile sense - this is often overlooked.The player’s body - and hand - is part of the handicraft - and it has a lot of other functions:The hand forms the figure, the hand animates, symbolises, and communicates. Hand - animation and magic are very closely linked in this theatre. Through animation, lifeless material is brought to life- this should be apparent - and so should the contradiction between man and dead material.Animation involves an exchange of energy: the animated material has the character of instrument in relation to the hand - at the same time the hand is an instrument for the material.This changes constantly. The process is based on sensibility and concentration - the aim is authenticity. To animate is to give life and soul to lifeless material - for instance, a marionette or an object. Animation art is based on the perception that things and materials contain energy and an inner dynamic. To sense this dynamic by playing yourself or seeing marionette theatre is to feel close to something alive - an experience that can lead to thoughts of magic and animism.
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